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Cab Calloway Home Movie #4
- Created by
- Calloway, Cab, American, 1907 - 1994
- Calloway, Nuffie, American, 1915 - 2008
- Owned by
- Calloway, Cab, American, 1907 - 1994
- Subject of
- Calloway, Nuffie, American, 1915 - 2008
- Calloway, Cab, American, 1907 - 1994
- Date
- ca. 1950
- Medium
- acetate film
- Dimensions
- Length (film strip): 450 Feet
- Duration: 00:16:03
- Description
- A compilation reel of 16mm home movies filmed by Cab Calloway during a tour of South America, with both Kodachrome and black-and-white film edge codes indicating years of 1950 and 1955.
- The initial (somewhat under-exposed) color footage is inside the Teatro Solis in Montevideo, Uruguay, and features musicians and dancers on stage. The following exterior daytime scene depicts a group of men with cameras in front of a motor coach bus. Scenes of the same motor coach in front of a large estate and garden feature Zulme "Nuffie" Calloway and a group of men. Subsequent scenes depict city streetscapes with men wearing gaucho pants, two of which emerge from an antique Model A Ford car. This is followed by a brief shot of a sunset filmed from a moving car. The camera roll ends with slightly overexposed footage of a ivy-walled palatial building, and race horses with jockeys; laboratory punch holes are visible at the end of the roll. The next camera roll opens with under-exposed interior footage of couples dancing in a ballroom; Cab Calloway is visible performing on stage and wearing a plaid blazer. The next scenes are exteriors, near a body of water, with Cab Calloway wearing shorts and a white tunic with black polka dots and hugging another man. Pleasure craft, docked in a harbor, are visible. Subsequent panorama shots feature Mrs. Calloway outdoors in a kimono-like bathrobe, and pans of seaside houses and gardens and of the ocean.
- The next roll in this compilation reel is in black and white, and features a tilt pan of an apartment building, women, and children who walk down its stairs. One of the women is Zulme "Nuffie" Calloway and palm trees are present in the gardens in front of the apartment. Subsequent shots from the same location include young girls, and groups of men posing for the camera. There is also a panorama shot of a garden with palm trees. A building is visible with the sign: "Pan American World Airways Compania [illegible] Aviacion." A young girl with a doll has her photograph taken in front of a fountain. In the following scene, Cab Calloway is seen in a white tuxedo, escorting a bride in what appears to be a backyard wedding ceremony. The camera roll ends with an unfocused interior shot, before a cement splice appears. The next camera roll begins with black-and-white footage of the beach, with several beach goers posing in front of the camera, including Mrs. Calloway. The final scenes of this roll are interior shots of what appears to be an Argentinian asada, with plenty of grilled meat and people seated at a long table eating.
- Place filmed
- Montevideo, Uruguay, Latin America, South America
- Collection title
- The Cabell “Cab” Calloway III Collection
- Classification
- Media Arts-Film and Video
- Archival Collections
- Topic
- Composers (Musicians)
- Conductors (Musicians)
- Entertainers
- Families
- Film
- Holidays and festivals
- Jazz (Music)
- Marriage customs and rites
- Singers (Musicians)
- Travel
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Cabella Calloway Langsam
- Object number
- 2015.273.2.4.1a
- Restrictions & Rights
- No known copyright restrictions
-
Cab Calloway Home Movie #5
- Created by
- Calloway, Cab, American, 1907 - 1994
- Calloway, Nuffie, American, 1915 - 2008
- Subject of
- Calloway, Cab, American, 1907 - 1994
- Calloway, Nuffie, American, 1915 - 2008
- Date
- 1948-1951
- Medium
- acetate film
- Dimensions
- Length (film strip): 430 Feet
- Duration: 00:15:55
- Description
- Compilation reel of 16mm color home movies of Cab Calloway and his family in Long Island, New York at Easter. The film also has footage of Calloway's tour of South America in 1951 including carnival and beach scenes in Montevideo, la Plaza Independencia, a horse racing track in Rio de Janeiro, and an airport in Puerto Rico.
- The film begins with wide shots of a mostly empty room with a child standing in the foreground. The camera pans around the room, placing particular emphasis on the drapes over the windows. In the next series of shots, two of Calloway's children play in front of their home and pose for the camera along with their dog. At different points, each child is shown in extreme close-up. Two of Calloway's children then appear in the backyard posing for the camera with two older, unidentified women and alone. Later, a younger, unidentified woman poses for the camera alone and with Calloway's children. This is followed by a series of shots taken at Piarco International Airport on the island of Trinidad. Included is a shot of a rainbow and longer shot of Calloway's band boarding a Pan American flight to an unidentified destination. Zulme "Nuffie" Calloway, Cab Calloway's wife, is briefly seen among the band members.
- The next series of shots depict the area around Playa Ramirez in Montevideo, Uruguay. There are wide shots of the beach itself, as well as closer shots of floats and spectators in a passing parade. A subsequent group of shots depict the Montevideo skyline. These shots are followed by footage captured at a horse racing track. Several races and individual horses are documented. A long series of wide shots from a high vantage point depict central Montevideo and its harbor. The next few shots appear to depict Maracanã Stadium in Rio De Janeiro, Brazil. This is followed by a variety of street scenes and shots of buildings in an unidentified city. Mrs. Calloway can be seen running across a busy street in one shot and another depicts a street performer eating glass. Several shots depict Calloway and the band mugging for the camera after exiting an airplane at an unidentified location, possibly Puerto Rico. The film concludes with a series of shots of the Calloway family dressed in winter coats while posing for the camera in front of their home. Both of their daughters hold bunny dolls in their hands.
- Place filmed
- Montevideo, Uruguay, Latin America, South America
- Piarco, Trinidad and Tobago, Caribbean, North and Central America
- Rio De Janeiro, Brazil, Latin America, South America
- Long Beach, Nassau County, New York, United States, North and Central America
- Puerto Rico, United States, Caribbean, Latin America, North and Central America
- Collection title
- The Cabell “Cab” Calloway III Collection
- Classification
- Media Arts-Film and Video
- Archival Collections
- Topic
- Children
- Composers (Musicians)
- Conductors (Musicians)
- Domestic life
- Entertainers
- Families
- Film
- Holidays and festivals
- Instrumentalists (Musicians)
- Jazz (Music)
- Singers (Musicians)
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Cabella Calloway Langsam
- Object number
- 2015.273.2.5.1a
- Restrictions & Rights
- No known copyright restrictions
-
Olympic swim suit and bag used by Simone Manuel at the 2016 Olympics
- Created by
- Speedo International Ltd., Australian, founded 1914
- Worn by
- Manuel, Simone Ashley, American, born 1996
- Date
- 2016
- On ViewCommunity/Third Floor, 3 052
- Exhibition
- Sports: Leveling the Playing Field
- Medium
- 2a: nylon and spandex;
- 2b: plastic with ink
- Dimensions
- H x W (.2a Swim suit): 29 1/2 × 14 1/4 in. (74.9 × 36.2 cm)
- H x W (.2b Speedo bag): 11 1/2 × 7 1/2 in. (29.2 × 19.1 cm)
- Caption
- Simone Manuel wore this suit at the 2016 Rio Olympics, where she won two gold and two silver medals. Manuel became the first African American woman to win an individual Olympic gold medal in swimming when she tied for gold with Canadian Penny Oleksiak in the 100-meter freestyle. Her win set an Olympic record and an American record. She also won gold in the 4x100-meter medley, and silver in the 50-meter freestyle and the 4x100-meter freestyle relay.
- Description
- Speedo swimsuit worn by Simone Manuel with plastic bag.
- .2a The one-piece bodysuit is knee-length, has a scoop neckline, and is navy with blue, red, white, and gold. The top half of the swimsuit has blue, red, and white areas that blend together. There are five (5) small white stars on each side. There is a white Speedo logo at the top on the proper right side. On the proper left side there is a white “USA” with a red outline. There are gold lines on either side of the swimsuit, starting at the armpit and going down the leg. The design moves in towards the ribs and flares back out again to the hips in an hourglass shape. There is a white Speedo logo at the bottom on the proper left leg. The straps are navy and textured and feature a chevron pattern.
- The gold lines are also on the back of the swimsuit and cross into an “X” shape in the center. The swimsuit has a racerback. There is a white label with black text and a QR code on the left and a red, white, and blue American flag logo on the right.
- The interior of the legs have red bands around the bottom. In the interior of the swimsuit there are several black bands with red text which reads [LAND OF THE FREE HOME OF THE BRAVE] with a Speedo logo.
- There is a white manufacturer’s label with black text inside the swimsuit. There is a Speedo logo along with information about materials, sizing, and trademark and copyright.
- .2b The clear plastic bag has black text on the front which reads [speedo {logo} / Fastskin / Developed by aqualab / {logo}]. There is upside down black handwriting which reads [Semi -> 100 free / Finals -> 100 free / Semi -> 50 free]. There is a white sticker with black text in the proper top left corner. It reads [LZR X CLOSED BACK KN / 7708801 / 410 / SIZE: 26] with a barcode. There is an opening at the bottom with two white snap buttons. There is a warning label on the back. It is a black rectangular outline with black text inside. The text reads [WARNING: / ONLY TO BE USED / BY WORLD CLASS / ATHLETES!]. There is another warning along the side in small black text. There is a black Fastskin tag inside the bag. The tag features the Speedo website, and trademark information.
- Place used
- Rio de Janeiro, Brazil, Latin America, South America
- Place depicted
- United States, North and Central America
- Collection title
- Simone Manuel Collection
- Classification
- Clothing-Historical
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Simone Ashley Manuel
- Object number
- 2018.99.2ab
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Flyer advertising Astracarnaval
- Created by
- Washington Square Church, American, 1842 - 2004
- Date
- 1976
- Medium
- ink on paper
- Dimensions
- H x W (Sheet): 11 × 8 1/2 in. (27.9 × 21.6 cm)
- Description
- This flyer advertises the Astracarnaval with capoeira. The flyer is white with black text and features two photographs of drummers beating their drum. The flyer reads [WASHINGTON SQUARE CHURCH / presents / ASTRACARNAVAL / MUSIC & DANCE OF BRAZIL / capoeira / cica duduca jelom / loremil machado ula / tuit moreno nacho mena / antonio zepeda / mon. nov. 22nd 8p.m. / 133 w. 4s. $3]. The back of the flyer is blank except for the text written in the bottom right corner that reads [1976]. 1976 is written twice but the first date is crossed out.
- Place used
- New York City, New York, United States, North and Central America
- Cultural Place
- Brazil, Latin America, South America
- Classification
- Memorabilia and Ephemera-Political and Activist Ephemera
- Movement
- BAM (Black Arts Movement 1965-1976)
- Topic
- Activism
- Communities
- Dance
- Music
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2015.97.27.298
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Swim cap worn by Simone Manuel at the 2016 Olympics
- Manufactured by
- TYR Sport, American, founded 1985
- Worn by
- Manuel, Simone Ashley, American, born 1996
- Date
- 2016
- Medium
- rubber and ink
- Dimensions
- H x W: 7 3/4 × 8 3/4 in. (19.7 × 22.2 cm)
- Caption
- Simone Manuel wore this suit at the 2016 Rio Olympics, where she won two gold and two silver medals. Manuel became the first African American woman to win an individual Olympic gold medal in swimming when she tied for gold with Canadian Penny Oleksiak in the 100-meter freestyle. Her win set an Olympic record and an American record. She also won gold in the 4x100-meter medley, and silver in the 50-meter freestyle and the 4x100-meter freestyle relay.
- Description
- Swim cap worn by Simone Manuel.
- The white rubber swim cap has a red, white, and blue American flag on either side. On the proper right side, the flag is backwards. The name “MANUEL” is in black text under the American flag on either side. There is a black TYR logo on the front of the cap. On the inside of the cap there is small black text which reads [TYR / MADE IN CHINA / H0107 / F-AH].
- Place used
- Rio de Janeiro, Brazil, Latin America, South America
- Collection title
- Simone Manuel Collection
- Classification
- Clothing-Historical
- Type
- bathing caps
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Simone Ashley Manuel
- Object number
- 2018.99.4
- Restrictions & Rights
- No Known Copyright Restrictions
-
Tri-Continential Information Center Bulletin Vol. 1 No. 8
- Created by
- Tri-Continental Information Center, founded 1967
- Written by
- Debray, Régis, French, born 1940
- Subject of
- Davidson, Basil, British, 1914 - 2010
- Guevara, Che, Argentine, 1928 - 1967
- Date
- December 1967
- Medium
- ink on paper
- Dimensions
- H x W (Sheet): 11 × 8 1/2 in. (27.9 × 21.6 cm)
- Description
- This edition of the Tri-Continental Information Center Bulletin details the wars in Portuguese controlled African countries. The edition is white paper with black text. The title reads: [UNKNOWN WAR IN PORTUGUESE WEST AFRICA]. The bulletin features articles written by Basil Davidson and Regis Debray. In the bottom right corner of the back page, handwritten text reads: [APRIL / 1968].
- Place used
- New York City, New York, United States, North and Central America
- Place depicted
- West Africa, Africa
- Peru, Latin America, South America
- Cuba, Caribbean, Latin America, North and Central America
- Hanoi, Viet Nam, Asia
- Guinea, West Africa, Africa
- Portugal, Europe
- Classification
- Documents and Published Materials
- Memorabilia and Ephemera-Political and Activist Ephemera
- Movement
- Pan Africanism
- Type
- newspapers
- Topic
- Activism
- Africa
- Black power
- Colonialism
- Decolonization
- International affairs
- Portuguese colonialism
- U.S. History, 1961-1969
- Vietnam War, 1961-1975
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2015.97.27.40
- Restrictions & Rights
- © Tri-Continental Information Center. Permission required for use.
-
Charles David Kleymeyer Oral History Interview
- Created by
- National Museum of African American History and Culture, American, founded 2003
- Recorded by
- Patrick Telepictures, Inc., American
- Interview of
- Dr. Kleymeyer, Charles David, American, born 1944
- Interviewed by
- Navies, Kelly Elaine, American
- Subject of
- Juan García Salazar, Ecuadorian, 1944 - 2017
- Inter-American Foundation, American, founded 1969
- Date
- December 7, 2016
- Medium
- digital
- Dimensions
- Duration (2016.129.18.1b): 85.1 minutes
- Duration (2016.129.18.2a): 85.1 minutes
- Description
- The oral history consists of 2016.129.18.1a and 2016.129.18.2a: two versions (unedited, and edited) of a single digital video recording.
- 128.98321 GB
- Dr. Charles D. Kleymeyer was interviewed as part of the NMAAHC Donor Oral History Collection. Dr. Kleymeyer is a close friend and research partner of Juan Garcia. Juan Garcia Salazar, an Afro-Ecuadorean, donated the very first item to the National Museum of African American History and Culture, a carved stool of clear tropical hardwood etched with a spider web motif, symbolizing West African folklore character, Anansi the Spider. This item is featured in our Cultural Expression Gallery. Dr. Kleymeyer, who lives in the DC Metropolitan area, has often acted as interpreter for Garcia Salazar and was present when the stool was delivered to NMAAHC Director Lonnie Bunch.
- In this oral history interview Dr. Charles D. Kleymeyer discusses his life and work at length, including his memories of growing up near the African American community of Lyles Station in Indiana and the extensive work he did for many years with African and Indigenous peoples in Ecuador while working for the Inter-American Foundation (IAF). It was his work with the IAF that brought him into contact with Juan Garcia Salazar and he discusses their relationship in detail.
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Place depicted
- Indiana, United States, North and Central America
- Ecuador, Latin America, South America
- Collection title
- The Collection Donor Oral History Project
- Classification
- Media Arts-Film and Video
- Type
- video recordings
- oral histories
- digital media - born digital
- Topic
- Activism
- Africa
- Communities
- Folklife
- Museums
- Travel
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.129.18.1a-.2a
- Restrictions & Rights
- © Smithsonian National Museum of African American History & Culture
-
CC0
Flyer advertising Astracarnaval
- Created by
- Washington Square Church, American, 1842 - 2004
- Date
- 1976
- Medium
- ink on paper
- Dimensions
- H x W (Sheet): 11 × 8 1/2 in. (27.9 × 21.6 cm)
- Description
- This flyer advertises the Astracarnaval presented by Washington Square Church .The flyer is pink with black text and features two pictures of a singer and musician. The flyer reads [WASHINGTON SQUARE CHURCH / presents / ASTRACARNAVAL / MUSIC & DANCE OF BRAZIL / capoeira / cica duduca jelom / loremil machado lula / tuti moreno nacho mena / antonio zepeda / mon. nov. 22nd 8 p.m. / 133 w. 4st. $3]. The back of the flyer is blank except for the handwritten text that reads [1976].
- Place used
- New York City, New York, United States, North and Central America
- Cultural Place
- Brazil, Latin America, South America
- Classification
- Memorabilia and Ephemera-Political and Activist Ephemera
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2015.97.27.187
- Restrictions & Rights
- Public domain
-
CC0
Wooden box that held tinned corned beef
- Created by
- Libby, McNeill, & Libby, U.S.A., American, 1869 - 1960
- Date
- early to mid 20th century
- Medium
- ink and metal on wood with leather
- Dimensions
- H x W x D (w/ handle up): 19 1/2 × 12 7/8 × 11 3/4 in. (49.5 × 32.7 × 29.8 cm)
- Description
- Wooden box that held canned corned beef. The wooden box is nailed together on all sides and has a leather strap. On three of the four sides there are painted manufacture’s and inspection marks. One side of the box the inspection stamp in the upper right corner, in a lined box reads, [INDUSTRIA ARGENTINA / MINISTERIO DE AGRICULTURA / Y GANADERIA / ESTABLECIMIENTO ? 1A / INSPECCIONADO]. A blank rectangle with the text, [COOKED / C[half letter]ORNED BEEF] is over a solid triangle. Below the rectangle, text in the triangle reads, [PACKED FOR / L[half letter]ibby McNeill & Libby, U.S.A. / - PRODUCT OF ARGENTINA]. On the right is an additional manufacture’s mark of the same rectangle and triangle. Above left, [1 DOZ], and on the right, [3 LB. TINS] is stamped in block letters. A circular stamp covers some of the text on the right and reads, [PHI / U.S. / INSPECTED]. The third side of the box has half of the manufacturers mark but much more faded and deteriorated. The fourth side is blank. The leather strap is nailed to sides 2 and 4.
- Place used
- Argentina, Latin America, South America
- Philadelphia, Pennsylvania, United States, North and Central America
- Classification
- Tools and Equipment-Military
- Type
- boxes (containers)
- Topic
- Cooking and dining
- Foodways
- Military
- World War I
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Alan Laird
- Object number
- 2017.111.7.1
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Swim cap worn and signed by Simone Manuel at the 2016 Olympics
- Manufactured by
- Speedo International Ltd., Australian, founded 1914
- Worn by
- Manuel, Simone Ashley, American, born 1996
- Signed by
- Manuel, Simone Ashley, American, born 1996
- Date
- 2016
- On ViewCommunity/Third Floor, 3 052
- Exhibition
- Sports: Leveling the Playing Field
- Medium
- rubber with metallic ink
- Dimensions
- H x W x D (measured flat): 7 1/4 × 8 1/16 × 3/4 in. (18.4 × 20.5 × 1.9 cm)
- Description
- Swim cap worn and signed by Simone Manuel.
- The black rubber cap has a red, white, and blue American flag on either side. On the proper right side, the flag is backwards. The name “MANUEL” is in white text under the American flag on either side. There is a white Speedo logo on the front of the cap and a signature on the proper right side of the cap. The signature is in gold ink and reads [Simone / Manuel].
- Place used
- Rio de Janeiro, Brazil, Latin America, South America
- Collection title
- Simone Manuel Collection
- Classification
- Clothing-Historical
- Type
- bathing caps
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Simone Ashley Manuel
- Object number
- 2018.99.3
- Restrictions & Rights
- No Known Copyright Restrictions
-
Olympic credentials used by Simone Manuel at the 2016 Olympics
- Issued by
- International Olympic Committee, Swiss, founded 1894
- Used by
- Manuel, Simone Ashley, American, born 1996
- Date
- 2016
- On ViewCommunity/Third Floor, 3 052
- Exhibition
- Sports: Leveling the Playing Field
- Medium
- ink on paper, plastic , metal and synthetic fiber
- Dimensions
- H x W (plastic cover with credentials): 7 5/16 × 4 3/4 in. (18.6 × 12.1 cm)
- H x W x D (overall): 25 1/2 × 4 3/4 × 1 1/4 in. (64.8 × 12.1 × 3.2 cm)
- Description
- Olympic credentials used by Simone Manuel.
- The ID badge features a rectangular headshot of Simone Manuel on the proper right side. To her left is reads [Rio 2016] with the Rio Olympic logo above it and the five Olympic rings below. There is a green rectangle with white text which reads [Aa]. On the bottom right corner of the photo there is a silver Rio 2016 sticker which reads [Rio 2016 / TM RIO 2016] and [Official Accreditation]. Below the photo there is black text which reads [Simone MANUEL / ATHLETE / ATLETA / UNITED STATES OF AMERICA / ESTADOS UNIDOS DA AMÉRICA]. Below the text there is an Olympic ring logo, a symbol of a form, plate, and knife, the letters “TA”, the letters “CDM”, and a barcode with numbers above it. There are more letter combinations below. There is a blue rectangle at the bottom with white numbers and letters inside. There is a curvy design on the background of the badge.
- On the back of the badge there are three paragraphs with rules and guidelines. Each paragraph is in a different language. There is another photo with Simone Ashley Manuel with text and symbols. The bottom has the same blue rectangle as the front, with “A”, “2”, and “R” in white text.
- The credentials ID badge is in a clear plastic sleeve. The plastic has a small, thin cutout at the top. There are two holes at the top, one on either side. There are two metal clips, one in each of the holes. The clips are attached to a dark green lanyard. The two fabric lanyard straps are attached by a black plastic snap-in clip at the top. There are yellow curved line patterns on the lanyard. There is also white text which reads [Rio 2016] and [Atos]. There are also Olympic rings in white.
- Place used
- Rio de Janeiro, Brazil, Latin America, South America
- Collection title
- Simone Manuel Collection
- Classification
- Clothing-Historical
- Type
- credentials
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Simone Ashley Manuel
- Object number
- 2018.99.7
- Restrictions & Rights
- No Known Copyright Restrictions
-
Jet vol. 1 no. 7
- Published by
- Johnson Publishing Company, American, founded 1942
- Edited by
- Johnson, John Harold, American, 1918 - 2005
- Burns, Ben, American, 1913 - 2002
- Clayton, Edward T., American, 1921 - 1966
- Subject of
- Vaughan, Sarah, American, 1924 - 1990
- Sampaio, Jurema, Brazilian
- Date
- December 13, 1951
- Medium
- ink on paper with metal
- Dimensions
- H x W x D (Closed): 5 13/16 × 4 1/8 × 1/8 in. (14.7 × 10.5 × 0.3 cm)
- Description
- Jet Magazine, volume 1, number 7, featuring a black and white image of singer Sarah Vaughan, against a green background. Only her face and shoulders are visible. Vaughan is wearing a light colored strapless top with sequined flowers. She is facing forward with her proper right shoulder slightly back. Just above Vaughan’s proper right shoulder is the model’s credit with a caption in white ink, that reads [SARAH VAUGHAN: / She rates as No. 1 / among girl singers] and the associated cover line above that reads [TEN / BEST / GIRL /SINGERS] in white type. The top third of the front cover is the mast head in white text, [JET / THE WEEKLY NEGRO NEWS MAGAZINE], on the left side and the date line, price and publisher [Dec. 13, 1951 / A JOHNSON PUBLICATION / 15c], on the right. On the right, top third of the cover is the cover line [NEGROS WITH / WHITE SLAVES]. On the left, bottom third of the cover is the cover line, [WAR AGAIN AT / WILBERFORCE]. The back cover features a full length, black and white image of Jurema Sampaio, wearing a leaf bikini and white beads. The image has a caption that reads [MOVIE STAR IN BRAZIL / Stunning Jurema Sampaio, a Brazilian girl of mixed / Negro, Indian and Portuguese blood, is one of the bright- / est stars in the growing movie industry of the biggest / South American country. She is morena or mixed type / considered ideal of beauty in Brazil (See “Entertain- / ment”).]. This magazine issue is sixty-six (66) pages.
- Place printed
- Chicago, Cook County, Illinois, United States, North and Central America
- Place depicted
- Brazil, Latin America, South America
- Classification
- Documents and Published Materials
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Courtesy of Johnson Publishing Company, LLC
- Object number
- 2015.122.11
- Restrictions & Rights
- © Johnson Publishing Company, Inc. Permission required for use.
-
CC0
Necklace associated with the Boa Morte sisterhood of Cachoeira
- Created by
- Unidentified
- Date
- 19th - 20th century
- Medium
- brass (alloy)
- Dimensions
- H x W x D: 20 × 3 × 5/8 in. (50.8 × 7.6 × 1.6 cm)
- L: 42 in. (106.7 cm)
- Description
- A 42-inch long gold-colored chain link necklace with no clasp. All of the links are approximately the same size and are slightly concave in shape. Each link has a visible soldered seam. The links are arranged in an alternating pattern of patterned links and plain links. The patterned links are decorated with hammered dots. The patterns vary between randomly spaced large dots, symmetrical rows of dots, or dots fully covering the link. The necklace is lightweight, possibly brass.
- Place used
- Cachoeira, Bahia, Brazil, Latin America, South America
- Classification
- Religious and Sacred Objects
- Adornment
- Type
- necklaces
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Jessica B. Harris
- Object number
- 2014.210.3
- Restrictions & Rights
- No Known Copyright Restrictions
-
Perform Now Comrades
- Printed by
- Guyana National Printers Limited, Guyanese, founded 1939
- Written by
- Burnham, Forbes, Guyanese, 1923 - 1985
- Owned by
- Bailey, Jan, American, 1942 - 2010
- Date
- 1972
- Medium
- paper, ink, metal
- Dimensions
- H x W: 6 7/8 × 9 1/2 × 1/8 in. (17.5 × 24.1 × 0.3 cm)
- Description
- Book of an address by Prime Minister Forbes Burnham, Leader of the People's National Congress at the 15th Annual Delegates' Congress on April 9, 1972. The book is paperback with a white cover. On the front are three (3) stripes of color in the middle, the first one green, the next one yellow, and the final one red. Within the stripes of color is white text, one word per stripe [PERFORM/NOW/COMRADES]. At the top, above the stripes in black text is the author's name [FORBES BURNHAM]. Along the bottom, below the stripes is additional black text [THE NATIONAL REVOLUTION IN GUYANA].
- Place printed
- Guyana, Caribbean, South America
- Classification
- Documents and Published Materials-Published Works
- Movement
- Pan Africanism
- Type
- paperbacks
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2013.201.37
- Restrictions & Rights
- No Known Copyright Restrictions
-
Courtland Cox Oral History Interview
- Created by
- Civil Rights History Project, American, founded 2009
- Interview of
- Cox, Courtland, American, born 1941
- Interviewed by
- Mosnier, Joseph Ph. D.
- Subject of
- Howard University, American, founded 1867
- Howard University Nonviolent Action Group, American, founded 1960s
- Student Nonviolent Coordinating Committee, American, 1960 - 1970s
- 1964 Democratic National Convention, American, founded 1964
- Sixth Pan-African Congress, founded 1974
- Pan-African Congress, 1919 - 1994
- Date
- July 8, 2011
- Medium
- digital
- Dimensions
- Duration: 01:43:40
- Description
- The oral history consists of nine digital files: 2011.174.30.1a, 2011.174.30.1b, 2011.174.30.1c, 2011.174.30.1d, 2011.174.30.1e, 2011.174.30.1f, 2011.174.30.1g, 2011.174.30.1h, and 2011.174.30.1i.
- Courtland Cox recalls growing up in Trinidad and New York City, and attending Howard University. He remembers organizing student protests in Washington, D. C., with the Nonviolent Action Group, which later merged with other groups to become the Student Nonviolent Coordinating Committee (SNCC). He also discusses the March on Washington, the Democratic National Convention in Atlantic City, changes in SNCC, and attending the Sixth Pan-African Congress.
- LOC ID: afc2010039_crhp0030
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Place depicted
- Trinidad and Tobago, Caribbean, South America
- New York City, New York, United States, North and Central America
- Dar es Salaam, Tanzania, Africa
- Collection title
- Civil Rights History Project
- Classification
- Media Arts-Film and Video
- Movement
- Civil Rights Movement
- Pan Africanism
- Pan Africanism
- Type
- video recordings
- oral histories
- digital media - born digital
- Topic
- Activism
- American South
- Associations and institutions
- Civil rights
- Education
- HBCUs (Historically Black Colleges and Universities)
- Social reform
- U.S. History, 1961-1969
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture in partnership with the American Folklife Center, Library of Congress
- Object number
- 2011.174.30.1a-i
- Restrictions & Rights
- © Smithsonian National Museum of African American History & Culture and The American Folklife Center, Library of Congress
-
Abbott's Monthly Vol. II No. 5
- Created by
- Abbott's Monthly, American, 1929 - 1933
- Published by
- Abbott, Robert Sengstacke, American, 1830 - 1940
- Edited by
- Harper, Lucius Clinton, American, 1895 - 1952
- Date
- May 1931
- On ViewCommunity/Third Floor, 3 050
- Exhibition
- Making a Way Out of No Way
- Medium
- ink on paper
- Dimensions
- H x W x D: 11 3/8 x 8 9/16 x 1/4 in. (28.9 x 21.7 x 0.6 cm)
- Description
- The May 1931 (Vol. II No. 5) issue of Abbott's Monthly. The front cover features an image of a woman wearing a white hat looking off to the left. The cover shows significant wear along the edges with tape along the binding. There are approximately 87 pages.
- Transcription Center Status
- Transcribed by digital volunteers
- Place made
- 3435 Indiana Avenue, Chicago, Cook County, Illinois, United States, North and Central America
- Place depicted
- Uruguay, Latin America, South America
- Classification
- Documents and Published Materials-Published Works
- Topic
- Literature
- Mass media
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Bobbie Ross in memory of Elizabeth Dillard
- Object number
- 2012.84.1
- Restrictions & Rights
- Public domain
-
The Negro Worker Vol. 2 No. 6
- Published by
- The Negro Worker, 1928 - 1937
- Edited by
- Padmore, George, Trinidadian, 1903 - 1959
- Subject of
- Communist International, 1919 - 1943
- Date
- 1932
- Medium
- ink on paper
- Dimensions
- H x W: 8 7/8 x 6 5/16 in. (22.5 x 16 cm)
- Description
- A black ink on yellowed paper pamphlet. At center on the front cover there is a black and white photograph of a white colonial governor with four African tribal chiefs with the caption [Colonial Governor and Native Chiefs - The King's African "Monkeys"]. Below the caption in large, bold text is [DOWN WITH THE WHITE IMPERIALISTS / AND THEIR BLACK AGENTS! / LONG LIVE THE FREEDOM OF AFRICA / AND THE COLONIES!]. The interior consists of thirty-one pages of articles and photographs. The back cover has an illustration of a man over a globe breaking chains.
- Transcription Center Status
- Transcribed by digital volunteers
- Place depicted
- South Africa, Africa
- Place made
- Hamburg, Germany, Europe
- Place depicted
- Guyana, Caribbean, South America
- Trinidad and Tobago, Caribbean, South America
- Jamaica, Caribbean, North and Central America
- Cultural Place
- England, Europe
- Place depicted
- Liberia, West Africa, Africa
- Kenya, Africa
- Classification
- Documents and Published Materials-Published Works
- Memorabilia and Ephemera-Political and Activist Ephemera
- Movement
- Pan Africanism
- Type
- pamphlets
- Topic
- Colonialism
- Decolonization
- International affairs
- Labor
- Mass media
- Photography
- Political organizations
- Politics
- U.S. History, 1919-1933
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Dr. Maurice Jackson and Laura Ginsburg
- Object number
- 2010.55.6
- Restrictions & Rights
- Unknown - Restrictions Possible
-
CC0
Identification button worn by enslaved persons on Golden Grove Plantation
- Created by
- Unidentified
- Used by
- Baillie, David, British, 1786 - 1861
- Date
- 1828-1834
- Medium
- pewter
- Dimensions
- Diameter: 13/16 in. (2.1 cm), 4.4Grams
- Description
- A round pewter button with "D BAILLIE / G•GROVE" stamped on the front. This button would have been sewn onto an enslaved person's shirt to identify him or her as belonging to David Baillie of Golden Grove Plantation, British Guyana. The button has considerable wear with pitting on both sides.
- Place collected
- Georgia, United States, North and Central America
- Place used
- Demerara-Mahaica, Guyana, Caribbean, South America
- Classification
- Slavery and Freedom Objects
- Awards and Medals
- Topic
- Business
- Commerce
- Middle Passage
- Slavery
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2009.32.5
- Restrictions & Rights
- No Known Copyright Restrictions
-
Negroes in Brazil: A Study of Race Contact at Bahia
- Written by
- Pierson, Donald, American, 1900 - 1995
- Illustrated by
- Debret, Jean-Baptiste, French, 1768 - 1848
- Published by
- University of Chicago Press, American, founded 1890
- Date
- 1947
- Medium
- ink on paper (fiber product), cardboard, and thread
- Dimensions
- H x W x D: 7 11/16 × 5 1/2 × 1 7/16 in. (19.6 × 14 × 3.6 cm)
- Description
- A 392-page hard bound book entitled Negroes in Brazil: A study of Race Contact at Bahia by Donald Pierson. The cover is green with yellow text and graphics. The cover shows an outline of a map of South America with all countries except for Brazil filled in with yellow. Brazil has horizontal yellow lines crossing through its entirety. These lines continue to the left side of the South America outline. The uppermost and bottommost lines extend to the right side of the continent and frame the title of the book [NEGROES / IN BRAZIL] and the author’s name [DONALD PIERSON], which are both in yellow. The spine of the book is green with [PIERSON] underlined along the top edge. The title of the book is written between two sets of horizontal yellow lines. The University of Chicago Press publisher’s insignia is along the bottom edge.
- The first page of the book includes a portrait of woman with the caption: [TYPICAL BAHIAN NEGRO GIRL].
- In the Preface the author writes that the book will “contribute toward making better known and understood one aspect of Brazilian life, namely, the career of the Brazilian Negro.” The book hopes to answer the question: “What happened to the Africans who were imported in such large numbers into this part of the New World?” The book focuses on Bahia, the main Brazilian entry point for enslaved Africans. The first part of the book analyzes the racial, economic, and cultural factors that shape Bahian society. The second part examines the slave trade and race relations. The third part details miscegenation and the fading color line. The fourth part surveys with the racial composition of the classes in Bahia. The fifth section examines elements of the African culture that have survived in Bahia. The sixth section is a summary of Pierson’s findings and he argues that class over race is the determining factor in social position in Bahia.
- There are a variety of illustrations and graphics in the book.
- Page 5 has a geopolitical map of South America with [BAHIA] in Brazil filled in with thin diagonal lines. The caption for this photo is [MAP OF SOUTH AMERICA SHOWING BAHIA AND SURROUNDING AREA].
- Facing page 16 shows an image of a large structure in the Portuguese colonial style labelled [THE RICOS OF THE RIDGES] which translated to the “The Rich of the Ridges”.
- Facing page 19 shows an image of multiple, cramped homes with tile rooves and other features common in regional vernacular architecture. The image is labeled [THE POBRES OF THE VALLEYS] which translates to “The Poor of the Valleys”.
- Facing page 76 shows a painting by Jean-Baptiste Debret with the caption [A BRAZILIAN FAMILY OF THE EARLY NINETEENTH CENTURY]. This graphic shows a Brazilian family leaving their home dressed in gala attire for a [customary Sunday promenade]. The family is in a single file line, led by the patriarch, followed by two young daughters and the mother. At least six enslaved individuals follow behind the family as they leave their home.
- Facing page 78 shows another painting by Jean-Baptiste Debret with the caption [A DOMESTIC SCENE IN COLONIAL BRAZIL]. This painting shows a Portuguese woman and children and five enslaved individuals engaging in a variety of domestic activities. The scene looks peaceful, but at the far-left side of the sofa sits a whip, suggesting that the scene could turn violent at any given moment.
- Page 259 shows an artistic duplicate of [SYMBOLS OF THE SOOTHSAYER’S ART PAINTED ON THE WALL OF A NEGRO DWELLING IN MATATU]. This artistic depiction is circular in form, with vines making up the bottom two thirds of the circle. Two decorative sugar bowls are depicted at the top of the image. Below the sugar bowls there is a circle with an illustration of an upside-down U-shaped object with circular shapes throughout. Above the circle is a book open to pages that read [THE LORD / IS MY / HELPER / WAIT ON / THE LORD / AND KEEP / HIS WAY]. On the left side of the circle, there is a flogger and, on the right, a knife. Two pears are below the circle. There is a phrase at the top of the image which reads [Suru ni ogun aiye] which translates to “Calm/patience conquers the world”.
- Facing page 287 is an image of a woman in traditional Candomblé festival attire with a white garment and layers of long and short necklaces. The caption reads [FILHA DE SANTO IN CEREMONIAL COSTUME READY TO ASSIST IN Candomblé RITUAL / In her hand is the symbol of Xangô, the orixá of lightning. (Photo- / graph by Friar Tomaz.)].
- Appendix B, which begins on page 262 features [COMMON SAYINGS REGARDING THE NEGRO] which are composed of misconceptions and stereotypes.
- The book has no markings, signatures, or inscriptions on the exterior or interior of the object.
- Place depicted
- Bahia, Brazil, Latin America, South America
- Place printed
- Chicago, Illinois, United States, North and Central America
- Classification
- Documents and Published Materials-Published Works
- Type
- hardcover books
- Topic
- African diaspora
- Colonialism
- Communities
- Cooking and dining
- Emancipation
- Families
- Folklife
- Foodways
- Free communities of color
- Holidays and festivals
- Portuguese colonialism
- Race relations
- Religion
- Stereotypes
- Trans Atlantic slave trade
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2010.1.247
- Restrictions & Rights
- © Donald Pierson. Permission required for use.
-
The Negro Worker Vol. 4 No. 2
- Published by
- The Negro Worker, 1928 - 1937
- Edited by
- Woodson, Charles
- Subject of
- Communist International, 1919 - 1943
- Date
- 1934
- Medium
- ink on paper
- Dimensions
- H x W: 7 7/8 x 5 11/16 in. (20 x 14.5 cm)
- Description
- A pamphlet with black print on green paper. On the center of the front cover there is a black and white photograph of workers in a confrontation with a police officer with following caption, "Negro workers in struggle with police in U.S.A." The interior consists of thirty-two pages of text and photographs. The back cover features a drawing of a man breaking a chain over a globe.
- Transcription Center Status
- Transcribed by digital volunteers
- Place depicted
- South Africa, Africa
- Liberia, West Africa, Africa
- Alabama, United States, North and Central America
- Cameroon, Central Africa, Africa
- Togo, West Africa, Africa
- Democratic Republic of the Congo, Central Africa, Africa
- Suriname, Caribbean, South America
- Belgium, Europe
- Netherlands, Europe
- Togo, West Africa, Africa
- Russia, Europe
- Classification
- Documents and Published Materials-Published Works
- Memorabilia and Ephemera-Political and Activist Ephemera
- Movement
- Pan Africanism
- Type
- pamphlets
- Topic
- Colonialism
- Decolonization
- Dutch colonialism
- International affairs
- Labor
- Mass media
- Political organizations
- Politics
- U.S. History, 1933-1945
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Dr. Maurice Jackson and Laura Ginsburg
- Object number
- 2010.55.35
- Restrictions & Rights
- No Known Copyright Restrictions